[ 專訪 ] 在他鄉延展島嶼感知：旅法藝術家沈榮，用水墨描繪風景與時間之間的柔軟凝視

 

藝術家沈榮 Jung Shen (Photo Credit: Jung Shen)

 
 

法國西北部的早晨，霧氣沿著山谷緩緩升起，光線在岩壁與田野間游移。這樣的風景，是旅法藝術家沈榮日常行走的地景。他現居於 La Roche-Guyon，位於巴黎近郊、被譽為法國最美村莊之一的小鎮。這裡遠離城市喧囂，與自然保持最貼身的距離。

在此旅居的每一天，他習慣走出工作室，在塞納河畔緩步而行，讓腳步與呼吸一點一點沉入河谷的光與空氣。有時是觀景，有時只是讓心神緩緩沉靜。

「因此自然風景成了我最常表現的主題。」一連串從日常流淌出來的感受，成為推動沈榮以藝術家身分前進的力量。那些晨霧與水氣拂掠身體的觸感、心境微微起伏的時刻、還有山丘層疊的景致，全都在他腦海留下某種不動聲色的痕跡。藉由暈染的墨痕、重疊的紙層、壓印的花影，轉作畫面裡若有若無的形體。

 
 

  • In the northwest of France, morning mist rises through the valley, and light moves across cliffs and fields. This is the landscape that artist Jung Shen encounters on his daily walks. He lives in La Roche-Guyon, a quiet village near Paris often named one of the most beautiful in France. Far from the city’s rhythm, it offers a deep connection to nature.

    Most mornings, Shen leaves his studio and walks along the Seine, letting his breath and steps gradually settle into the valley’s light and air. Sometimes to observe, other times simply to quiet his thoughts.

    “Nature has become the subject I return to most,” he says. These everyday impressions continue to shape his work. The feeling of mist on the skin, subtle changes in emotion, and the layered outline of hills all leave a silent imprint in his mind. Through ink washes, overlapping paper, and the faint shadows of pressed flowers, these moments resurface as quiet, near-abstract forms.

 
 
 
 

他輕而深的筆觸，像是讓意識將自然的變化與時間的流動，在紙張或布幔纖維裡蔓延。沒有具體的起點，也不設下終點，單純順應著紋理、濕度、手的力道，從中長出凝視的邊界。

 
 

  • His brushwork is both light and deep, allowing his awareness to drift with the changes of nature and the passage of time, slowly extending across the fibers of paper or fabric. There is no defined beginning, nor any set end. He simply follows the textures, the moisture, the pressure of his hand, and from there, a quiet threshold of contemplation begins to take form.

 
 

La Seine ombrée 02 (Photo Credit: Jung Shen)

 
 


" I create through design, clothing, and painting as a way to stay engaged with how I see life and aesthetics. Each medium offers its own voice, but the curiosity behind it remains the same. This openness is what allows me to move freely between different forms of expression. "


 
 

工藝、時裝、藝術創作，皆為生活及美學的觀察體現



沈榮的歷程橫跨設計、工藝與藝術。回望創作的源起，他分享著，自幼成長於文化藝術的環境之中，母親是服裝設計師，使他在自由探索的氛圍下接觸藝術。小學便開始學習油畫與書法，也曾彈奏鋼琴。求學階段進入美術工藝科，接觸了多樣技藝與設計領域。

這些看似分散的經歷，其實在內在感知上形成一種連續性，構成他對美感與材料的好奇與敏銳。「我每次創造設計、製作衣服、繪製畫作，都是在以不同語言，延續我對生活和美學的觀察與審視。這樣的脈絡貫穿了我的創作理念，也讓我在不同媒材間保有好奇之心，游刃有餘。」他形容，每一次的創作轉換，如同為人生不同的篇章找到語言，各有規範與形貌，卻在精神上相通呼應。

 
 

  • Jung Shen’s path weaves through design, craft, and art. Looking back at the origins of his creative journey, he recalls growing up in a home immersed in culture and the arts. His mother was a fashion designer, and from an early age, he was encouraged to explore freely. As a child, he studied oil painting and calligraphy, and also learned to play the piano. Later, he entered a fine arts and crafts program, where he was introduced to a range of techniques and design disciplines.

    What may seem like a scattered path has in fact formed a continuous thread in his inner sensibility. These experiences shaped his curiosity and sensitivity toward materials and aesthetics.

    He sees each shift in practice as a way of giving form to a different chapter of life. Each comes with its own structure and expression, yet they remain connected in spirit.

 
 

法國 Senlis 春季藝術沙龍展覽 Printemps des arts (Photo Credit: Jung Shen)

 
 

2017 年沈榮移居法國。起初並非為了藝術創作，而是進修時尚管理碩士。完成學業後，他在時尚領域工作了十多年。這段時間，他深刻感受到當地投入熱愛的事物，社會包袱較輕的文化氛圍。後來沈榮決定離開原本職場，給自己一年的時間專注藝術創作。

「這段空檔對我來說是一次難得的喘息與自我對話的機會。法國的文化與環境成了我創作的重要養分。讓我更加完整，也促使我以全職藝術家的身份前進。」

他開始專注繪畫，並在居住小鎮的創意市集設攤，將作品公開於人前。「出乎意料的是，這些小作品得到了很好的回應，也讓我發現自己在繪畫中感受到前所未有的快樂與自由。」與人們的相遇，意外點燃了他內心的確信。從那時起，沈榮真正踏入藝術家的身份，全心發展水墨創作的人生新階段。

沈榮的創作路徑看似轉折，實則一以貫之。他始終在追尋如何將內在感受，具體轉化為與外界對話的形狀。

 
 

  • Jung Shen moved to France in 2017, initially to pursue a master’s degree in fashion management. He went on to work in the fashion industry for over a decade, drawn to the local culture’s openness to personal passion and freedom from rigid expectations. Eventually, he stepped away from his career and gave himself a year to focus on painting.

    "That pause was a rare chance to breathe and reconnect with myself," he says. "France became a source of creative nourishment and gave me the clarity to embrace life as a full-time artist."

    He began painting more seriously and sharing his work at local creative markets. The response was unexpectedly warm, and through those encounters, he discovered a deep joy in the act of painting. That moment marked a quiet shift—one that led him fully into the life of an ink artist.

    At heart, his journey has always been about giving shape to inner feeling and finding ways to share it with the world.

 
 
 
 

為什麼以水墨當作創作媒材？



用水墨作為媒材，源於記憶，也關乎沈榮當下的直覺選擇。

從孩提時期習字、短暫學習國畫開始，水墨一直是種非常東方的技法，身處於法國這樣的環境，沈榮選擇這項技法當作表現形式，正好串連了他的經歷背景。

「我是在一個非東方、也不是台灣的環境中開始藝術創作的。用水墨對我來說其實有點意外。」但當運用水墨，勾勒家旁的塞納河畔和綠意光景時，流動與不可控的筆痕，反而更貼近他對自然的感受。「那種抽象且有機的輪廓、墨彩流動生成的純粹與自由，成為我發展水墨藝術的動力。」

 
 

  • Shen’s use of ink draws from memory and instinct.

    He first encountered the medium through childhood calligraphy and brief lessons in traditional Chinese painting. While living in France, returning to this Eastern form felt unexpected but intuitive.

    "I started creating art outside of both Taiwan and the East, so using ink surprised me at first," he says. "But as I painted the Seine and nearby landscapes, the fluid, organic nature of ink felt closely aligned with how I experience the natural world. Its abstract contours and spontaneous flow gave me a sense of freedom that continues to guide my work."

 
 

Photo Credit: Jung Shen

 
 


" Water resists control. In ink, I find a quiet movement and unpredictability that mirrors nature. These chance outcomes often reveal the beauty of a fleeting moment and remind me that imperfection holds the truth of nature. "


 
 

séries défilement artworks (Photo Credit: Jung Shen)

 
 

「水，是一種無法完全掌控的媒介，水墨的底蘊中蘊含著難以預測的流動性與韻律，就像大自然一樣深邃無垠，沒有絕對的規則。這些偶然的意外反而呼應了瞬間的美感，也讓我彷彿領悟到一種生命態度：不完美，正是自然的真實與美麗。」沈榮描述，他對水墨最深的著迷，來自墨與水在紙面交織、擴散、沉澱，不可預測的生成過程。面對無法複製、充滿偶然與變化性的媒材，他常處於放手又心存敬畏的狀態。

而這份感觸，也讓他在心境上與印象派產生連結。「我對水墨常有種印象派的既視感（déjà vu）。他們捕捉光影的變化、日常的流逝，用自由筆觸記錄瞬間的美感，這些思維和我現在的創作有很多重疊之處。」

除了風景的即興描繪，他也嘗試透過系列創作深化對書墨的思考。在《書墨文詞》系列，他站在東西文化差異的角度，轉化文字，結合抽象形構與情境，發展介於語言與圖像之間的視覺表達，試圖重新定義書墨創作。

 
 

  • Shen describes his fascination with ink as rooted in its unpredictability—the way water and pigment merge, spread, and settle on the surface. It is a process he approaches with both surrender and reverence, aware that no mark can be exactly repeated.

    This sensibility has also drawn him closer to the spirit of Impressionism. "There’s often a sense of déjà vu when I work with ink," he says. "Impressionist painters captured shifting light and passing moments with freedom and emotion. That way of seeing feels deeply connected to how I create now."

    Beyond spontaneous landscapes, Shen also deepens his exploration of ink through series-based works. In Ink wash words, he reflects on the distance and overlap between Eastern and Western cultures, translating written language into abstract forms and atmospheres. The series exists between text and image, offering a visual expression that seeks to redefine what ink can be.

 
 

「墨嶼自然」個展 @文域生活 Taipei Solo Show 2025 ( Photo credit：美學聚落 )

 
 

一場與自己的對話



當創作成為主要工作，裡面會有喜歡的部分，也有感到不自在的時刻。每次落筆，沈榮總是不斷與自我交鋒，時常在釋放與壓力之間擺盪，擔心想表達某種樣貌，卻可能會失敗。

「但失敗又怎樣呢？」

他開始將這些雜念放下，「不完美即完美」成了貫穿他創作與看待藝術的信念和態度。這些作品宛如人生練習的縮影，讓他反覆體會：創作，是一場從自己身上不斷學習的過程。就算當下的東西不甚滿意，但日後將被暫放一旁的片段重新提取、交融，又是另一份嶄新的美好。

 
 

  • As art became his main work, Shen found both moments of joy and times of unease. Each stroke is a dialogue with himself, often caught between release and pressure, aware that the image he hopes to express may fall short.

    "But what does failure really mean?" he asks.

    Over time, he has learned to set aside those doubts. "Imperfection is perfection" has become a guiding belief in both his art and his outlook. His works resemble exercises in living, reminding him that creation is a process of continual learning from within. Even pieces left unfinished or set aside can be revisited later, merging with new ideas to form another kind of beauty.

 
 

Photo Credit: Jung Shen

 
 

帶著島嶼的根，在他方落地滋長



身為在異地創作的東方藝術家，沈榮深知語言、思維與藝術脈絡上的差異，但他並不將這些視為阻礙，而是養分的來源。他把來自台灣的島嶼文化及視角，與法國所見的藝術陳述交融，「或許聽起來有些老套，但東方的沉靜哲思和西方的感性交織，讓我能真實表達我自己的視角與感受。」

他特別提到，「不要把自己當作異鄉人，一切才會變得自然。」能與不同背景的人聚集切磋，真的很重要，因為誰也不知道這些交流會帶來什麼樣的驚喜。這份對文化的開放度與複合觀點，正是他創作之所以散發真誠與張力的重要來源。

 
 

  • As an Eastern artist working abroad, Jung Shen is acutely aware of the differences in language, thought, and artistic context. Yet he does not see these as obstacles but as sources of nourishment. He blends the island culture and perspective of Taiwan with the artistic discourse he encounters in France. "It may sound familiar, but the meeting of Eastern contemplation and Western emotion allows me to express my own perspective with honesty," he says.

    He adds, "Do not treat yourself as a foreigner, and everything will feel natural." For Shen, the chance to exchange ideas with people from different backgrounds is vital, since no one can predict the surprises such encounters may bring. This openness to culture and multiplicity of viewpoints has become an essential source of authenticity and strength in his work.

 
 
 
 
 
 

HC：你的創作感覺像在捕捉某種記憶片段或謐靜的畫面。當你回顧一系列的作品，現在和過去有什麼樣的轉變嗎？

Jung Shen：絕大部分的時候，我的確想捕捉風景的當下之美。但時間不會靜止，即使畫筆試圖抓住那瞬間，相機想留下當時的景象，時間還是會繼續流動。

真正平靜的，是我們的心和思緒，留下的樣貌像是一種提醒，也是一種靈感。我秉持這樣的哲思去創作每一件作品。風格、內容、情緒都不需過於明確定義，因為它們會自然流露出來。創作上的轉變以及媒材的擴展，應該要保持自由且自然，無心插柳柳成蔭，正是我一個創作系列因此而生的。

山水之間（Lavis au passé composé）是以一個回收舊的水墨創作片段與新的紙本碎片來撕紙、拼貼、托裱，是對時間性以及不完美的致敬，讓山水作品穿越時間的限制。

 
 

  • Q：Your works often feel like they are capturing fragments of memory or moments of stillness. Looking back at your series, how do you see the shifts between past and present?

    Jung Shen:
    Most of the time, I aim to capture the beauty of a landscape in a specific moment. Yet time never stands still. Even if the brush tries to hold onto that instant, or the camera seeks to preserve a scene, time keeps moving forward.

    What truly becomes calm is the heart and the mind. The traces they leave are both reminders and sources of inspiration. I hold on to this philosophy in every piece I create. Style, subject, or mood does not need to be precisely defined, as they emerge naturally. Shifts in my practice and the use of new mediums should remain open and unforced. Often, a series begins this way, unexpected yet organic.

    Lavis au passé composé (Ink wash in the composed past)  grew out of this spirit. By tearing, collaging, and mounting fragments of older ink paintings with new pieces of paper, I sought to honor both time and imperfection, allowing landscapes to move beyond the limits of chronology.

 
 

「山水之間」系列作品 Lavis au passé composé (Photo Credit: Jung Shen)

 
 

HC：新系列《風景織間》與過去的創作有何不同之處，你試圖想傳遞什麼？

Jung Shen：「風景織間」是將水墨紙本與布料、紗線結合來表現山水，褶疊如濃淡、線邊如滲色勾勒，描摹紋理、渲染氣韻，墨於布料上的浸透，多少回應了我過去的服裝背景。

透過這樣的方式，我看見創作中另一種沈澱的力量。過程有時像在抽絲剝繭，更強調放慢腳步、體會當下。視覺上的交疊帶來層次與穿透感，讓這系列作品有了新的視覺呼應，像是山水畫中遠近層疊的關係。


HC：你如何看待「創作的當下」這個狀態？

Jung Shen：創作是不斷進行的狀態，裡面充滿了對未知的期待，也會有擔憂，甚至是驗證自己想法的時刻。某種程度上，我的創作當下通常是帶著規劃性的，這大概跟個性有關，我做事比較有條理和計劃性。這種規律對我來說是習慣，也沒有絕對的好壞。

 
 

  • Q：How does your new series Woven landscape differ from your earlier work, and what are you hoping to convey?

    Jung Shen:
    Woven landscape combines ink on paper with fabric and thread to reinterpret landscape. Folds resemble ink washes, edges trace the diffusion of pigment, textures are drawn out and tones are layered. The way ink seeps into fabric also recalls my earlier background in fashion.

    Through this approach, I discovered another form of grounding in my practice. The process can feel like unraveling threads, asking me to slow down and fully inhabit the present. Visually, the overlapping materials create depth and transparency, echoing the layered distances in traditional landscape painting.

    Q：How do you view the idea of the “present moment” in creation?

    Jung Shen:
    For me, creation is an ongoing state. It carries anticipation of the unknown, moments of worry, and times when I test my own ideas. In some ways, the moment of creation is often structured, which reflects my personality. I tend to work with order and planning. This regularity has simply become a habit for me, and I do not see it as inherently good or bad.

 
 
 
 

HC：創作時，你會去思考觀者怎麼解讀作品嗎？

Jung Shen：藝術本來就是非常主觀的，每個人都會從作品找到自己心裡的記憶點或關注點。作品能吸引觀者，正是因為它喚醒了這些感受。至於想像的空間，正是藝術最有趣的部分。有時過多的解釋，反而會破壞那份迷人的模糊夢境。

我最核心的期待，是希望能創造一個讓觀者沈思的片刻。在那份寧靜中感受到動感，而在動態之間，我們又渴望平靜。


HC：現在是社群媒體快速傳播、作品很容易被看見的時代。你自己怎麼看這樣的創作環境？

Jung Shen：分享創作過程、靈感和作品本身，在某種程度上是很好的動力，也讓過程變得真實且快樂。不可否認，現代藝術很大一部分是靠行銷推動。不過，在社群媒體盛行的時代，創造內容有時會變得有點本末倒置。

所以保持適度的「斷線」很重要。不只是給自己空間，也是「不要為了做而做」的提醒，更專注在每件事物的本質上。另外我也很重視實體交流。面對面的互動往往帶來更長久、更真實的連結。

 
 

  • Q：When you create, do you think about how viewers will interpret your work?

    Jung Shen:
    Art is always subjective. Each person finds their own point of memory or focus within a piece. A work resonates precisely because it awakens these feelings. The space for imagination is what makes art compelling, and too much explanation can sometimes take away the charm of that ambiguity.

    What I hope for most is to create a moment of contemplation for the viewer. In that stillness they might sense movement, and within movement we are reminded of our longing for calm.

    Q：We live in an era where social media spreads work instantly and widely. How do you see this environment for creation?

    Jung Shen:
    Sharing the process, inspiration, and the work itself can be a source of motivation, making the journey feel more real and joyful. It is true that much of contemporary art is driven by marketing, yet in the age of social media, content creation can sometimes lose sight of its essence.

    This is why I find it important to disconnect at times. It is not only about giving myself space, but also a reminder not to create for the sake of producing. It helps me stay focused on the essence of each work. I also value physical encounters, as face-to-face interactions often bring deeper and more lasting connections.

 
 

「 Impression d'île」個展（島嶼印象）@Espace Beaujon 巴黎八區市政聽藝文中心 (Photo Credit: Jung Shen)

 
 

lac alqueva II (Photo Credit: Jung Shen)

 
 

串連跨越地域的創作軌跡



在創作與生活之間，在時間與空間之間，沈榮不斷練習如何安置自己，也讓作品成為他向世界發聲的途徑。從自然到水墨，從島嶼視角到歐陸日常，他以溫柔而堅定的態度闡述心念，也邀請人們進入水墨筆觸間的情思流動，感受內心微妙的共鳴。

 
 

  • Between creation and daily life, between time and place, Jung Shen continues to find his footing and lets his work become a voice to the world. From nature to ink, from the perspective of an island to the routines of Europe, he speaks with quiet determination and invites viewers to enter the flow of brush and ink, sensing subtle echoes within.

 
 
 
 

今年秋冬，沈榮將透過三檔個展與觀眾分享創作歷程的結晶。

10 月起，他將於台北永和的世界宗教博物館展出《之間 L’intervalle》個展，展出包括最新系列「風景織間」在內的多件作品。正如展覽理念所述：「如墨，描繪自然山水的流轉。如人，在自我與世界中蔓延。如風，無聲的表述虛實之線。如光，靜謐混沌中引領安然。」邀請觀者不只是看山水，更是在自然與世界萬物之間，靜靜地會見，感受身心靈的連結。

緊接著，10 月 24 日至 11 月 8 日於盧森堡，11 月 12 日至 12 月 20 日於巴黎，沈榮也將帶來兩場個展，持續拓展跨越地域與文化的藝術對談。更多展覽詳情，請關注沈榮官網或 Instagram。

也許我們都需要這樣一個『之間』的空間，讓心靈在藝術的引領下，重新與自然、與自己相遇。

 
 

  • This autumn and winter, Shen will share the outcome of his artistic journey through three solo exhibitions. Opening in October at the Museum of World Religions in Taipei, L’intervalle presents a selection of works including his latest series, inviting viewers not only to see landscapes but to encounter, in stillness, a connection with nature and the world.

    Further exhibitions will follow in Luxembourg from October 24 to November 8, and in Paris from November 12 to December 20, extending his dialogue across cultures and geographies. For more details, visit his website or Instagram.

 
 

Photo Credit: Jung Shen

 
 

關於藝術家沈榮 Jung Shen
Web / IG

 
 

Photo credit/ Jung Shen
Interview、Text/ ChichiL

 
SPEAKOUTChichiLVoice, art